Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Cameroon and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1977.
I'm losing my edge.
To all the kids in Taipei and Madrid.
I'm losing my edge to the art-school Mumbai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing James Chance & The Contortions to the crunk kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Stereo Dub. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Sarah Menescal,
Tomorrow,
Gil Scott-Heron & Brian Jackson,
Yellowson,
John Foxx,
Harry Pussy,
Sight & Sound,
The Shadows of Knight,
Pantaleimon,
Masters at Work,
Steve Hackett,
Pet Shop Boys,
Severed Heads,
Joe Finger,
Marc Almond,
Robert Wyatt,
Quadrant,
The Modern Lovers,
the Fania All-Stars,
Zapp,
Shuggie Otis,
Sixth Finger,
Q and Not U,
The Fuzztones,
Vaughan Mason & Crew,
Larry & the Blue Notes,
Roy Ayers,
Ultramagnetic MC's,
Mantronix,
Kool G Rap & DJ Polo,
CMW,
World's Most,
Grandmaster Flash,
Joy Division,
David McCallum,
Unrelated Segments,
Pere Ubu,
The Standells,
Bizarre Inc.,
Spandau Ballet,
Flash Fearless,
Moebius,
The Alarm Clocks,
Basic Channel,
Mark Hollis,
Rites of Spring,
Accadde A,
The Mummies,
Crispy Ambulance,
Surgeon,
Henry Cow,
Saccharine Trust,
Sonic Youth,
James White and The Blacks,
Warren Ellis,
Youth Brigade,
Bobby Hutcherson,
Kenny Larkin,
Teenage Jesus and the Jerks,
Q65,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.